Bladmusiek $60.00

Oorspronklik

That's All Right. John Fedchock. Advanced.

Vertaling

Dit is alles reg. John Fedchock. Gevorderde.

Oorspronklik

That's All Right arranged by John Fedchock. For big band. Level. medium difficult. Score and parts. Published by Walrus Music Publishing. WA.55299. Though primarily Latin, the groove here also has funk roots. Even though the drummer should stress downbeats using the cross-stick figure, rhythms in the ensemble suggest a 2-3 clave that should be observed by the pianist, guitarist, and bassist in their comping. Rhythms similar to the opening, 2-bar figure could be used effectively. It is important for the rhythm section to make the most of the punctuations at the end of each opening, 8-bar phrase. mm. 12,20,28 &37. to propel the ensemble into the next section. The drummer especially needs to "catch" these without sacrificing energy or momentum. Unison lines at mm. 21 and 29 should be played at a moderate volume with relatively smooth articulation so the trombone punctuations will create a more striking contrast. Trombones must understand when their figures should be more out-front as a lead voice. mm. 12,20,28,31,36. as opposed to when they're supplying backgrounds. mm. 13,22-25. Individual efforts are necessary to make mm. 91-92 effective. In the pairings of two to three horns, the descending rhythmic unison will lose dramatic intensity without strong, accented contributions from each group. The figure itself should fit precisely with the rhythm section's punctuation. After a strong ensemble chorus, m. 204 has a dramatic subito piano, bringing the volume way down before the long, gradual build-up through m. 208 and ultimately to a very loud m. 220. The more that is made of these dynamic changes, the more effective the finish. Medium advanced.

Vertaling

Dit is alles reg gereël deur John Fedchock. Vir big band. Vlak. medium moeilik. Telling en dele. Gepubliseer deur Walrus Music Publishing. WA.55299. Alhoewel hoofsaaklik Latyn, die groef hier het ook funk wortels. Selfs al is die tromspeler downbeats moet beklemtoon die gebruik van die kruis-stok figuur, ritmes in die ensemble dui op 'n 2-3 kloof wat deur die pianis, kitaarspeler waargeneem moet word, en baskitaarspeler in hul comping. Ritmes soortgelyk aan die opening, kan 2-bar figuur effektief gebruik word. Dit is belangrik vir die ritme afdeling aan die meeste van die punctuations aan die einde van elke opening, 8-maat frase maak. mm. 12,20,28. die ensemble in die volgende afdeling te dryf. Die tromspeler veral nodig om dit te vang sonder om afbreuk energie of momentum. Unison lyne by mm. 21 en 29 moet teen 'n matige volume met relatief gladde artikulasie gespeel word sodat die tromboon punctuations sal 'n meer treffende kontras skep. Trombone moet verstaan ​​wanneer hul figure behoort meer uit-front as 'n voorsprong stem. mm. 12,20,28,31,36. in teenstelling met wanneer hulle die verskaffing agtergronde. mm. 13,22-25. Individuele pogings wat nodig is om mm te maak. 91-92 effektiewe. In die jaers van 02:58 horings, sal die dalende ritmiese harmonie dramatiese intensiteit verloor sonder sterk, aksent bydraes van elke groep. Die figuur self moet presies pas by die ritme afdeling se punktuasie. Na 'n sterk ensemble koor, m. 204 het 'n dramatiese Subito klavier, wat die volume pad af voor die lang, geleidelike opbou deur m. 208 en uiteindelik tot 'n baie harde m. 220. Die meer wat gemaak word van hierdie dinamiese veranderinge, hoe meer effektief die einde. Medium gevorderde.